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SALE NUMBER 2104 
PUBLIC EXHIBITION FROM FRIDAY, NOVEMBER TWELFTH 


BHE 


JOHN LANE 


COLLECTION OF 


ORIGINAL DRAWINGS 


BY 


AUBREY BEARDSLEY 


SOLD BY ORDER OF 


MRS. JOHN LANE 


LONDON, ENGLAND 


TO BE SOLD BY AUCTION 
MONDAY EVENING 
NOVEMBER TWENTY-SECOND 
AT EIGHT-FIFTEEN 


THE ANDERSON GALLERIES 
[MITCHELL KENNERLEY, Present] 


489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 


1926 


CONDITIONS OF SALE 


ALL BIDS TO BE PER LOT AS NUMBERED IN THE CATALOGUE. 


The highest bidder to be the buyer. In all cases of disputed bids the decision of the 


Auctioneer shall be final. 


Buyers to give their names and addresses and to make such cash payments on account 


as may be required, in default of which the lots purchased shall be resold immediately. 


Purchases to be removed at the buyer’s expense and risk within twenty-four hours from 
the conclusion of the sale, and the remainder of the purchase money to be paid on or 
before delivery, in default of which The Anderson Galleries, Incorporated, will not be 
responsible for any loss or damage whatever, but the lot or lots will be left at the sole 


risk of the purchaser, and subject to storage charges. 


All lots will be placed on public exhibition before the date of sale, for examination by 
intending purchasers, and The Anderson Galleries, Incorporated, will not be responsible 
for the correctness of the description, authenticity, genuineness, or for any defect or 
fault in or concerning any lot, and makes no warranty whatever, but will sell each lot 


exactly as it is, WITHOUT RECOURSE. 


If accounts are not paid and purchases removed within twenty-four hours of the con- 
clusion of the sale, or, in the case of absent buyers, when bills are rendered, any sum 
deposited as part payment shall be forfeited, and The Anderson Galleries, Incorporated, 
reserves the right to resell the lot or lots by either private or public sale, without further 
notice, and if any deficiency arises from such resale it shall be made good by the defaulter, 
together with all expenses incurred. This condition shall be without prejudice to the right 
of this Company to enforce the sale contract and collect the amount due without such 
resale, at its own option. 


The Anderson Galleries, Incorporated, will afford every facility for the employment of 
carriers and packers by the purchasers, but will not be responsible for any damage arising 
from the acts of such carriers and packers. 


The Anderson Galleries makes no charge for executing orders for its customers and uses 
all bids competitively, buying at the lowest price permitted by other bids. 


A Priced Copy of this Catalogue may be obtained for One Dollar 
for each Session of the Sale 


THE ANDERSON GALLERIES, INC. 


489 Park AVENUE AT Firty-NINTH Street, New York 


TELEPHONE REGENT 0250 CATALOGUES ON REQUEST 


SALES CONDUCTED BY MR. F. A. CHAPMAN, MR. A. N. BADE AND MR, E. H. L. THOMPSON 


PREFACE 


T the outset, let us be formal and precise. The drawings which 
will be presented in this sale, and which made up the collection 
of the late John Lane, as he left it at his death in 1924, come from three 
sources. A collection of twenty drawings, grouped here under the 
general heading of Juvenilia, was purchased of Mrs. Ellen Beardsley, 
the artist’s mother, some three years ago. Two other drawings, duly 
noted in the catalogue, were purchased at the sale of the late William 
Heinemann, Esg., having been made at his order. The remainder, re- 
presenting ninety per cent. of the entire collection, were bought by John 
Lane of the artist himself, having been done to his order and for his pur- 
poses. 

This stamps the sale. With this seal set upon it, a collection ceases to 
be an agglomeration of objects, assembled with a certain taste, to become 
a living thing, a chunk hewn out of the lives of two men. 

They met in 1892. A meeting instinct with drama. On the one hand 
the railway clerk, past thirty-eight, just launching out into publishing 
with all the wild enthusiasm of a schoolboy. On the other, the insur- 
ance clerk, just twenty, about to throw safety to the winds and astonish 
London with his art. What wonder that Harland was amazed at this 
man who would entrust his precarious fortunes to two irresponsible 
youngsters, just because one of them happened to be a genius ! 

A genius? Is there no better title for a boy who in six short years 
of battling with inexorable disease summed up in himself a period? For 
between them, the publisher with his flair and his faith, the genius with 
his magical imagery, his dazzling patterns of black and white, they made 
the Nineties. ) 

Guy EcLINGTON 


AUBREY BEARDSI EY 
BORN AT BRIGHTON, ENGLANI 
AUGUST, 91, 210704 


DIED AT MENTONE, FRANCE ak 
“MARCH 16, 1898 | 
AGED 25 YEARS AND 7 MONTHS | a 


SALE MONDAY EVENING, NOVEMBER TWENTY-SECOND, AT 8:15 


7 ELIE 
JOHN LANE COLLECTION 
OF 


AUBREY BEARDSLEY DRAWINGS 


NUMBERS 1-57 


JUVENILIA 
1888-1889 


NUMBERS 1-5 


The following five numbers were purchased by the late John Lane from 
Mrs. Ellen Beardsley, mother of the artist. The entertainments for 
which these programmes were made, in which Aubrey and Mabel 
Beardsley and, on one occasion, Mrs. Beardsley herself took part, were 
held at the Beardsley home in Cambridge Street, probably during the 
holidays of Aubrey’s last year at the Brighton Grammar School, that is, 
1888-89. Published in The Uncollected Work (London: John Lane, 
1925), they are ascribed, with the exception of No. 4, to the years 1884 
and 1885: it is difficult to see with what justification, since No. 3 is dated 
1888, and no great change of style is to be detected. 


1 PROGRAMME 

The Cambridge Theatre of Varieties. Grand Easter Entertainment. 
April... Commencing at 7.45. Sole Lessees and Managers M. & A. 
Beardsley. 
Six drawings. 
(a) Titte pace. The opening of a tent. Therein a swan. A bird 
bearing in its mouth an envelope with the words “One Performance 
wor. Etc. 
(b) No. 1. Rounp THE Corner. Farce in One Act. Girl in ballet 
dress and red-nosed comedian in voluminous skirts act as sandwichmen. 
(c) Sones. The Happy Fatherland. A. V. Beardsley. Quite English. 
M. Beardsley. Etc. At head of drawing a man lies on a wall strum- 
ming a guitar. Between the titles various objects, a pipe, an easel, etc. 
(d) A Monotocuz. Nearly Seven (by Brookfield). To be given by 
A. Beardsley. A man with violent moustaches and swallow-tail 
coat declaims. His left arm points at a clock. 
(e) Soncs. Eighteenpence: A. V. Beardsley. Etc. A man in evening 
dress looks down from his box on to the stage. 
(f) Finis. Apreu! A slender young man (Beardsley?) bows between 
parted curtains. 
Pen and ink on paper. Corners clipped. (6) 

Size of each, 638 x 4% inches 
Plates 115-120 in The Uncollected Work. 

1 


2 PROGRAMMES, CAMBRIDGE THEATRE 
A miscellaneous collection dating from April [1888?] 
Five drawings. 
(a) CAMBRIDGE THEATRE. Sat. Ap. 28. Nearly 7.0. A young man 
reciting. A huge clock above, the fingers pointing to three minutes of 
seven. | 
(b) Tur Sones. They Call Me a Poor Little Stowaway. Eighteen- 
pence. Quite English. Beside each title a music hall artiste, the 
first two réles evidently played by Aubrey, the third by Mabel. 
Both pen and ink on card. Size, 558 x 35% inches 


(c) Granp ENTERTAINMENT. At left a skeleton. Below, a youth 

gazing up at swinging sign, over which impish top-hatted figures 

clamber. 

(d) Fruis. Hind-quarters of a warrior disappearing behind a tent : 

flap. Boy a-tiptoe before the curtains. : 

Both pen and ink on card: (c) heightened with red. - 
Size, 5 x 3% inches 

(ec) PRocrAMMeE. April 30. Two figures gazing up at an enhaloed | 

‘“‘PROGRAMME , from the £ a boy hanging. : 

Pen and ink on paper. Top rounded. Size, 658 x 4% inches | 

Plates 106, 108, 114, 109 and 107 in The Uncollected Work. (5) 


3 PROGRAMME 
Theatre of Varieties. Tonight December 29, 1888. 
Four drawings. 
(a) Tirtz-pace. At left, steps leading up to door of theatre. A 


buxom woman with poke bonnet drops her gamp in awed amazement 
at the PROGRAMME. 


(b) No. 1. Reciration ... In the centre of the page a tolling bell 
with trailing bell-rope. 

(c) Sones. Portrait of Beardsley singing. A policeman, dog, etc. 

(d) GRAND Farce. Box and Cox. Box. M. Beardsley. Cox. A. V. 
Beardsley. Mrs. Bouncer. E. A. Beardsley. (Her first appearance.) 
A shaded light illuminates the programme, which is spread out on a 


table. At right, hats on a rack. At foot, bathing vans, a letter from 
Margate, etc. 


Pen and ink on paper. (4) Size of each, 67% x 4% inches 
Plates 110-113 in The Uncollected Work. 
SEE ILLUSTRATION} 


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PAGE FROM PROGRAMME WITH SELF-PORTRAIT 


{ NUMBER 3C | 


4 PROGRAMME | 
Cambridge Theatre. Saturday Jan. xxi [1889?] 


Seven drawings on six sheets. 
(a) TITLE-PAGE. 


(b) On verso of (a), PLAN OF THE THEATRE, showing disposition of 
stage, etc., and frontage of the theatre on Cambridge Street. 


(c) Hate-tirtz. At head of sheet a bust, flattened into a broad grin. 


(d) THz Man or Honour. A Charade in 3 Acts. Ikey. A. V. 
Beardsley. Widow. M. Beardsley. Landlady. M. Beardsley. 
The design shows a mild, top-hatted, bespectacled gentleman studying 
the playbill, with portions of another more battered and rakish type, 
whose function is to display the bill. 


(e) THe Jotty Masuers. A Charade in 4 Acts. The same cast. A 
frock-coated gentleman displays the poster. 


(f) THe Misraxe. Charade. 3 Acts. The same cast, the male part 
being taken by M. Beardsley. A dashing figure with silk hose and 
breeches, plumed hat, sword, and Cyranesque nose, announces the 
act 


(g) Sones (sung during charades). Frock-coated imps seem to be 
doing gymnastics on the left leg, held horizontal, of a grotesque old 
gentleman in the Gladstonian tradition. 

Pen and ink, line and wash. The lettering in (a) is heightened with 
rede #9201 6) Size of each, 7 x 4% inches 
Plates 121-127 in The Uncollected Work. 


Beardsley’s first published work, the Illustrations to the Programme 
and Book of The Pay of the Pied Piper, is dated from the end of 1888, 
the comic opera of that name having been performed at the Drome, 
Brighton, December 19. The present set of drawings, made during 
the following holidays, are in much the same manner, allowing for 
the fact that the former were made for reproduction. 


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{ NUMBER 5 | 


ILLUSTRATION TO DICKENS 
5 XMAS EVE AT DIN(G)LEY DELL 


Illustration to Pickwick Papers. 


From the centre of the ceiling of the kitchen, old Wardle had just suspended 
with his own hands a huge branch of mistletoe, and this same branch 
of mistletoe at once gave rise to a scene of general and most delightful 
struggling and confusion; in the midst of which Mr. Pickwick with a 
gallantry which would have done honour to a descendant of Lady Tollim- 
glower herself, took the old lady by the hand, led her beneath the mystic 
branch, and saluted her with all courtesy and decorum ... Wardle stood 
with his back to the fire, surveying the whole scene, with the utmost 
Satisfaction; and the fat boy took the opportunity of appropriating to 
his own use, and summarily devouring, a particularly fine mince-pie .. . 
—Extract from Pickwick Papers, Chapter xxvu} 
This drawing, which has apparently never been published, is not 
the only incursion which Beardsley made into the illustration of 
Dickens. Seven dinner name-cards, representing seven Dickens 
characters, are published as Plate 162 in The Uncollected Work. 
Like the present drawing, they witness to the artist’s inevitable debt 
to his forerunners. Like this again, to the potential genius in him. 
For if the former forecast in their delicacy the exquisite interpreta- 
tions of the Nocturnes of Chopin, this drawing points, in its naissant 
sense of pattern, in its use of the purest black that the young pen 
can command, straight to The Yellow Book. 
Pen and ink on card. Size, 358 x 558 inches 


5 


THE YELLOW BOOK 
Editor: Henry Harland 
Art Editor: Aubrey Beardsley 
April 1894-April 1895 


NUMBERS 6-II 


“As to The Yellow Book, I was one evening at the Hogarth Club, that 
is dead, too, when Beardsley and Harland rushed in and said, “We are 
going to start a magazine.’ I said, “You can’t. They said, “We can, 
and we have gotten some idiot,—John Lane is his name,—to publish 
it for us. I didn’t dispute the adjective, for I honestly thought anyone 
an idiot to trust those two, but I said, ‘Neither of you, not even with 
me to help you, can run a magazine, and you will ruin the publisher.’ 
“You will see,’ they said.” 
—Extract from Aubrey Beardsley and Other Men of the Nineties, 
by Joseph Pennell. Pennell Book Club, No. 3. Philadelphia, 1924} 


6 POSTER FOR THE YELLOW BOOK 

Girl with rich, blonde chevelure in simple high-waisted, broad-sashed 

garden frock, holding soft straw hat in right hand. A meadow with 

suggestion of meadow flowers. ; 

Drawing in bold outline in narrow perpendicular panel ‘at left of 

sheet. Three-line border. 

Pen and ink on paper. Signed, white on black, at foot of design. 
“Size, 15 x 1034 inches 


7 THE YELLOW BOOK. VOLUME I. April 1894 
Title-page design. 
Girl in jet-black dress standing at piano. Trees and a landscape in 

% faint outline beyond. 

Ao superb example of Beardsley’s power to make black live. The 
ribbon of white which hangs from the bodice cuts the rich darkness 
like a flame. In contrast the shoulders blaze with light. 

Pen and ink on paper. Size, 10x 614 inches 
As used, the double-ruled border was eliminated and the design used 
merely as an ornament. 
The cover design for Vol. I is now in the British Museum, having 
been chosen by the Director in accordance with the terms of John 
Lane’s will. 

SEE ILLUSTRATION] 


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TITLE“-PAGE DESIGN FOR THE YELLOW BOOK 
VOLUME I 


{ NUMBER 7 | 


8 


9 


10 


11 


THE YELLOW BOOK. VOLUME I. April 1894 
Design for reverse cover. 7 | 
Decoration confined to two horizontal panels at head and foot of 
sheet, linked by sacramental candles. Above, the traditional Pierrot 
gazes at the high fantastic Columbine across the candle’s flame. From 
either end a girl surveys the spectacle as from her box. In the lower 
panel the initials E.M. and J.L. (Elkin Mathews and John Lane), 
white on a black ground, with fleuron decoration. 
Pen and ink on paper. Signed twice with the Japanese monogram. 
Size, 10 x 838 inches 
This design was used on the reverse cover of Vols. LIV. The space 
in the centre was used for the contents. After the dissolution of 
partnership between Elkin Mathews and John Lane, which took 
place in 1894 between the publication of Vols. II and III, the initials 
E.M. and J.L. were blacked out on the plate. 


THE YELLOW BOOK. VOLUME II. July 1894 

Cover design. 

Head and shoulders of a young woman with heavy black chevelure 
and wide frilled collar, alternate black and white, beside a revolving 
bookcase. At left, drawn in, flat against a black ground, a pair of 
standing candelabra, the cups tulip-shaped. 

Pen and ink on paper. Signed with the Japanese monogram between 
the candelabra. The paper has been folded horizontally across the 
centre. Size, 818 x 6% inches 


THE YELLOW BOOK. VOLUME III. October 1894 

Cover design. 

Young girl, at her mirror, powdering. Loose black gown, trimmed 
with white. Heavy black chevelure. The mirror, strangely enough, 
illuminated by two gas street lamps. Cosmetic still life on the dressing 
table. 

Pen and ink on paper. Size, 8 x 6% inches 


THE YELLOW BOOK. VOLUME IV. January 1895 
Plate XIV. The Mysterious Rose Garden. S¢@ atf 


Against a rose trellis, two figures. A tall slender girl, nude, twisting — : 


a lock of her hair nervously between her breasts. Beside her a man 
wrapped in a linen garment, crinolined at the waist. A lantern 
hangs from the staff which he holds. He whispers—the secret of | 
Prometheus—the fire which the gods stole and gave to mortals. 
This, one of the last, is also one of the most famous of the drawings 
which Beardsley contributed to The Yellow Book. In its delicacy, 
it forecasts his later manner of The Rape of the Lock. In its mystery 
it holds perhaps more of human drama. | 
Pen and ink on paper. Traces of pencil are visible in the cloak. 

Size, 834 x 434 inches 


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{ NUMBER 11 | 


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FROM THE SUPPRESSED VOLUME OF 
THE YELLOW BOOK 
VOLUME V. APRIL 1895 


NUMBERS 12-13 


Aubrey Beardsley’s connection with The Yellow Book only extended 
to the first four volumes. The break was sudden and dramatic. Vol. V 
was already binding when on a day in March 1895, William Watson, 
the poet, walked into The Bodley Head and demanded to speak with Mr. 
Frederic Chapman. He bore an ultimatum. Either Beardsley should 
go, or the “Hymn to the Sea” be withdrawn. His demand was backed 
up by a majority of the literary contributors. John Lane, at the moment 
in America, bowed before the storm and cabled that Patten Wilson 
should fill the editor’s place. The Beardsley plates and decorations were 
forthwith suppressed and an entirely new edition prepared without his 
collaboration. 

Jospeh Pennell, in Aubrey Beardsley and Other Men of the Nineties, 
lays the blame for Beardsley’s dismissal on Mrs. Humphry Ward, who 
threatened “to give the matter into the hands of my friend, William 
Ewart Gladstone, with instructions to take the matter up with his friend, 
the Public Prosecutor.” 


12 THE YELLOW BOOK, VOLUME V.-“Abriiiiea. 
Suppressed title-page decoration. 
Venus. Three-quarter portrait of the goddess, seated, in low-cut 
modern gown with full sleeves decorated with broad spiral bands, 
and plumed headdress, before a rose hedge. A miniature of extreme 
brilliance. 3 
Pen and ink on paper. Size, 438 x 31% inches 
This. drawing was probably executed as a decoration for Venus and 
Tannhauser. See No. 48. 


SEE ILLUSTRATION] 
10 


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== 


SUPPRESSED TITLE-PAGE DECORATION 
THE YELLOW BOOK. VOLUME V 


_{ NUMBER 12 ] 


13 THE YELLOW BOOK. VOLUME V. April 1895 
; A Nocturne of Chopin. Suppressed plate. Cees F stvtid 
i — Courtship under the Third Empire. A garden. On a sofa a lady 

| 72 S. and her companion, the younger blonde with deep décolleté and 

| flowing crinoline. A single dainty foot visible. Before her, as though 
preparing to bow, a gentleman, suave and subtle, a cane held between 
finger and thumb. All in a dim light. 

Pen and ink and wash on paper. Size, 734 x '7¥% inches 


11 


FROM THE ARCHIVES 
OF 
THE YELLOW BOOK 


NUMBERS 14-19 


14 THE YELLOW BOOK Segthe dep ivb td 


Cover design, not used. 

A lady in her library. A few books are on the shelves. Those on the 

table have titles: Dickens, The Yellow Book, Shakespeare (odd and 

succulent sandwich), The Story of Venus and Tannhauser, Discords. 
O ub S. Wholly exquisite are the lady’s costume, her triple muff, ‘and some- 

what hobbled skirt, and the three Pierrots in miniature ‘who act as 

caryatides to the table. pies 

Pen and ink on paper. | Size, 758 x 6% inches 


15 L’ABBE MOURET | 
Frontispiece for Zola’s book of that name. Circa 1892. 
Drawing in three compartments in the Gothic manner. Above, the 
Blessed Virgin with nimbus, and satyr. In the main compartment 
the abbé kneeling in profile at the foot of the statue of the Virgin, a 
framed crucifix behind. At left an altar. Below, in place of Predella, 
the title on a scroll. Summary decoration of plants and flowers. A 
symbolic serpent at left. A most important example in Beardsley’s 
early manner, apparently unpublished. 

Pen and ink and wash on paper. Size, 1258 x 538 inches 


16 LA MAITRESSE D’ORCHESTRE g eg-tt cs taculiy : 


Woman, garbed as Pierrot, seated on a low banquette, conducting 

an invisible orchestra. Her loose jacket forms a pattern of black, 

relieved at edges by border of stippled lace, against a white ground. 

Pen and ink on paper. Signed at corner of banquette with a version 
| 5. of the Japanese monogram. Size, 878 x 6% inches 

A note in Mr. A. E. Gallatin’s catalogue points out that this drawing 

SMPs the same motif as the grotesque on page 53 of the Bons 

ots. 
Reproduced as Plate 155 of The Early Work, with the title, Salome 
on Settle. 
SEE ILLUSTRATION} 


12 


LA MAITRESSE D ORCHESTRE 


| NUMBER 16 ] 


Or 
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126 


17 


18 


BACCHUS | el | 
Pencil drawing, unsigned. Possibly made to be published under 
assumed name, for the purpose of mystifying the critics. 
Pencil on paper. Folded across centre. On verso, sundry figures in 
pen and ink, in Beardsley’s hand. Size, 514 x 514 inches 


Plate 40 of The Uncollected Work. 


Design for title-page. o- Suttle Cong S, 


Superb architectural design, with skeleton of ram’s head on shield 
at centre of frieze. At base of columns the masks of Good and Evil. 
On verso, unpublished pencil sketch with variants for the same with 
pencilled title in Beardsley’s hand. te 
Pen and ink on paper. Signed “A.V.B.” at right of base, beneath 


EVELINA. BY FRANCES jes ° 


~ the black. 7 Size, 104 x74 inches 


19 


Used as title-page for The Early Work and for The Later Work. ~ 


POSTER FOR THE -YELL@W BOOK | 
Circa 1893. Not used. : 3 
Woman in tight-waisted, flared top§oat over white skirt) Back of 


costume only seen. Face and full profile. The sleeves tapering to 

elbow. Horned bat perching on head. Holding in right hand an 

imp, who points. Shield at right. 

Pen and ink on paper. Signed at lower right with the Japanese 

monogram. Size, 13% x 101% inches 
SEE ILLUSTRATION} 


14 


POSTER FOR THE YELLOW BOOK NOT USED 


{ NUMBER 19g | 


THE EDITORS OF THE YECLOW BOOK 


| NUMBERS 20 AND 21 | 


THE EDITORS OF THE YELEOW 3@@e 


NUMBERS 20-21 


20 THE EDITOR OF FHE YEEEOWsE@or 


21 


Henry Harland. By Aubrey Beardsley. 

Head and shoulders, half-turned, the eyes narra eee to a slit, the lips 
pouting slightly, the thin moustaches turned up. 

Charcoal on paper. Size, 844 x6% Wes 


First published in The Sketch (London), April 11, 1894. 


SEE ILLUSTRATION] 


THE:ART EDITOR OF THE YELLOW) beaks 

Aubrey Beardsley. Self-portrait. 

Head and shoulders, seen in almost full face. The artist’s jacket has 
high padded shoulders, and is cut low. The hair is brushed far for- 
ward and is parted in the centre. Beardsley wears a black bow tie. 
Charcoal on paper. Signed on mount. Size, 9 x 634 inches 


First published in The Sketch (London), April 11, 1894. 
{SEE ILLUSTRATION} 
16 


TITLE-PAGE DESIGN FOR KEYNOTES 
THE FIRST VOLUME OF THE FAMOUS SERIES 


| NUMBER 22 } 


KEYNOTES SERIES 
Joun Lane, PUBLISHER 
1893-1896 


NUMBERS 22-43 


{‘‘Each volume with specially designed title-page by Aubrey Beardsley. 


22 


23 


Cr. 8vo, cloth 4s, 6d> net. 4 —Contemporary Advertisement} 


KEYNOTES SERIES. VOEUME I 
Keynotes. By George Egerton. 1893. Title-page design. , 
A lady, out walking. Tall; queenly; surveying her world. Below, 
Pierrot, leaning on his staff, and a dwarf, playing on the guitar. The 
lady’s hat has proud ribbons; the dwarf’s borders always on the 
grotesque. From the guitar hang the masks of comedy and tragedy. 
Pen and ink on paper. Signed with the Japanese monogram beneath 
the mask of comedy. Size, 914 x 6% inches 
As used, the double rule at right has been brought in 11% inches, 
the hand and tragic mask of the dwarf being allowed to project outside 
of the frame. 

SEE ILLUSTRATION, PAGE 17} 


KEYNOTES SERIES. VOLUME III | 

Poor Folk. Translated from the Russian of F. Dostoievsky by Lena 
Milman. With an introduction by George Moore. 1894. Title- 
page design. 

Young girl, standing at her balcony. Below, a fragment of a door- 
way. The figure is white on black. A drainpipe, running perpen- 
dicular from the base of the design, holds it together. 

Pen and ink on paper. Size, 1034 x 7 inches 
As used, the design is to the right of the page, the double rule border 
being continued on all four sides, the border round the text cancelled. 


24 KEYNOTES SERIES. VOLUME IV 


A Child of the Age. By Francis Adams. 1894. Title-page design. 
Lotus-shaped flowers in the form of a chandelier. 

Pen and ink on paper. Size, 834 x 47% inches 
With Vol. IV Beardsley hit on a page design which pleased him, viz: 
a half inch border at head, a space, roughly five inches square at centre, 
and the main decoration, white on black, at foot. The variations 
from this design in later volumes of the series are slight. 


18 


25 KEYNOTES SERIES. VOLUME V ) 
The Great God Pan and the Inmost Light. By Arthur Machen. 1894. 
' Title-page design. - re 
The Great God, nude to the shaggy waist, grasping a staff with out- 
stretched arm. His pipes hang from his staff. The floral design now 
almost symmetrical evidently gave trouble, for portions of the original 
design are visible under the black, and there are traces of Chinese 
white in the foliage near the god’s face. 
On verso. Unfinished drawing of earlier version of same subject, 
of great interest as showing the way Beardsley worked. The design 
is roughly sketched in in pencil, the two boys and the bust of the god 
being worked over with ink. 
Pen and ink on paper. Small tear at lower right of drawing. 
| Size, 834 x 434 inches 


26 KEYNOTES SERIES. VOLUME VI 
Discords. By George Egerton. 1894. Title-page design. 
Triple floral design, stems in form of inverted 5, with leaves in shape 
of short scimetars and wide flattened blossoms, with lotus shapes at 
the heart. 
Pen and ink on paper. Size, 834 x 434 inches 


27 KEYNOTES SERIES. VOLUME VII 
Prince Zaleski. By M. P. Shiel. 1895. Title-page design. 
Arabesque of fruit vine, bearing what might be seven ripe pome- 
granates cut across the core. 
Pen and ink on paper. | Size, 878 x 458 inches 


28 KEYNOTES SERIES. VOLUME VIII 
The Woman Who Did. A Hilltop Novel. By Grant Allen. 1895. 
Title-page design. 
Two lotus-shaped blossoms with long grass blades bent in protection 
above. 
Pen and ink on paper. Size, 7% x 41% inches 


29 KEYNOTES SERIES. VOLUME Ix | 
Women’s Tragedies. By H. D. Lowry. 1895. Title-page design. 
Grape-vine decoration, symmetrically balanced with bunches of 
pendent grapes. 

Pen and ink on paper. The sheet has been cut clean through near 
the top. Size, 758 x 41% inches 


19 


30 


31 


32 


ao 


34 


KEYNOTES SERIES. VOLUME X — 

Grey Roses. By Henry Harland. 1895. Title-page design. 

Two tall trees flank a third, stunted, with lower branches that sprout 
and curl, incredibly. Beardsley, with his unerring eye for color, has 
caught on the “grey” of the title and rendered it in the blossoms. 
Pen and ink on paper. Size, 75 x 41% inches 


KEYNOTES SERIES. VOLUME XI 

At the First Corner, and other Stories. By H. B. Marriott Watson. 
1895. Title-page design. ma 

Full- blown rose, giant leaf and strange fruit, all issuing from the same 
stem in concentric design. 

Pen and ink on paper. Size, 758 x 4% inches 


KEYNOTES SERIES. VOLUME XII 
Monochromes. By Ella d’Arcy. 1895. Title-page design. 
Stem design in shape of amphora, laid on side, from which spring 
leaves with triple tongue, and three-tongued blossoms. 
Pen and ink on paper. Small hole in space left for title. 
Size, 634 x 334 inches 


KEYNOTES SERIES. VOLUME XIII 

At the Relton Arms. By Evelyn Sharp. 1895. Title-page design 
and Key. 3 

Sharp forceful design of tree bearing shield, the leaves tapered to a 
menacing point. 

The Key, fashioned out of the initials E.S., has somewhat the shape of 
a Venetian lantern. 

Pen and ink on paper. Size, '7 x 41% inches 


KEYNOTES SERIES. VOLUME XIV 

The Girl from the Farm. By Gertrude Dix. 1895. Title-page design 
and Key. 

A design of unrelieved coldness. In the centre what might be a 
frozen wineglass, rising out of a snow bed. Bare tendrils weave 
above and about in spiral dance. 

The Key is fashioned out of the initials G. D., the G demanding a 
circular handle, rectified into the lantern shape of the preceding. 

Pen and ink on paper. Size, 7x 414 inches 


20: 


35 KEYNOTES SERIES. VOLUME XV 
The Mirror of Music. By Stanley V. Makower. 1895. Title-page 
design and Key. 
Winged angel, clothed in loosely fitting linen gown, tuning bass 
viol. White against a black hedge. Behind, a lamp shade. Formal 
trees. The suggestion of a house. 
The Key is fashioned out of the initials $.V.M., the V being formed 
out of the handle’s crutch. 
Pen and ink on paper. Size, 758 x 4% inches 


36 KEYNOTES SERIES. VOLUME XVI 
Yellow and White. By W. Carlton Dawe. 1895. Title-page design 
and Key. : | 
Tree. From the upper branches, blossoms in the shape of lotus, or it 
might be giant artichokes. From the lower, pendent hearts. 
The Key, fashioned out of the initials A.M., rightly belongs to The 
Three Impostors, by Arthur Machen, and was duly used on the 
reverse cover of that book. 
Pen and ink on paper. Size, 75% x 438 inches 


37 KEYNOTES SERIES. VOLUME XVII 
The Mountain Lovers. By Fiona Macleod. 1895. Title-page design © 
and Key. 

Design in form of double 5, as it might be two swans, from whose 
necks spring blossoms. The upper border echoes the same motif, 
save that here the suggestion is of waves. 

The Key, fashioned out of the initials F.M., is sturdier and more 
Gothic in spirit than most of the series. 

Pen and ink on paper. | Size, '758 x 43 inches 


38 KEYNOTES SERIES. VOLUME XVIII 
The Woman Who Didn’t. By Victoria Crosse. 1895. Title-page 
design and Key. 
Two wavy bands, placed perpendicularly, divide the design into 
three compartments, the central design being an arabesque. The 
blossoms resemble full-blown roses. 
The Key, fashioned out of the initials V.C., was done on a separate 
sheet, but has been mounted in the space left for the title. 
Pen and ink on paper. Size, '7 x 4% inches 


39 KEYNOTES SERIES. VOLUME XIx 
The Three Impostors, or The Transmutation. By Arthur Machen. 
1895. Title-page design. 
Arabesque design of curiously grotesque quality, the leaves, as it 
were, clawed. 
Pen and ink on paper. _ Size,'7% x 4% inches 


21 


40 KEYNOTES SERIES. VOLUME XX 


Nobody’s Fault. By NettaSyrett. 1896. Title-page design aed i Key. 
Formalized decoration composed of what appear to be fir cones and 
acorns, bending all to the left. A single blossom at upper right. 

The Key, fashioned out of the initials N.S., is one of the most dis- 
tinguished of the series. ; 

Pen and ink on paper. Size, 7% x 438 inches 


KEYNOTES SERIES. VOLUME Xx] 
The British Barbarians. A Hilltop Novel. By Grant Allen. 1895. 
Title-page design. 

A housemaid serving tea in the garden, a flower bed, two giant oaks, 
a well. A knot in the trunk of the oak offers itself as an easy mark 
for the parody of No. 44. | 
Pen and ink on paper. Size, 848 x 5 inches 


42 KEYNOTES SERIES. VOLUME XXIII 


43 


Platonic Affections. By John Smith. 1896. Title-page design. 
One of the most brilliant designs of the series. The silhouette is of a 
giant moth, composed of three highly stylized flowers. The central 
flower, as it were, a-tiptoe, the satellites swaying as in a ritual dance. 
Round the central flower two love birds circle. 

Pen and ink on paper. Size, 74% x 4% inches 


SEE ILLUSTRATION} 


KEYNOTES SERIES. DESIGN FOR COVER OF CIRCULAR 
Keynotes Series of Novels and Short Stories. Twenty-one Designs 
by Aubrey Beardsley. With Press Notices. London, John Lane, 
1896. 
Design in shape of tall screen with formalized borders of pine cones on 
curling stems. 

Pen and ink on paper. Size, 1014 x 54 inches 


22 


a} 
a x 
WOME Vo 


UNIFORM WITH THE KEYNOTES SERIES 


NUMBERS 44°45 


44 THE BARBAROUS BRITISHERS 
A Hilltop Novel. By H. D. Traill. 1896. A parody on No. 41. 
Title-page design and Key. | 
The charming Rossetti face of No. 41 gives way to the hard features 
of the typical boarding house slavey. In place of tea things, she carries 
pen and ink and blacking brushes. In the trunk of the oak a grotesque 
face appears. 
No suggestion of parody is visible in the Key, fashioned out of the 
initials H.D.T. The H is particularly ingenious. 
Pen and ink on paper. Size, 534 x 3% inches 


45 YOUNG OFEG’S DITTIES 
A Translation from the Swedish of Ola Hansson. By George Egerton. 
Cr. 8vo, 3s. 6d. net. London: John Lane, 1895. Title-page design, 
following form adopted in Keynotes Series. 
Pen and ink on paper. Size, 714 x 41% inches 


24 


SALOME 
1893-1894 
NUMBERS 46°56 


{Salome. A Tragedy in One Act: Translated from the French of Oscar 
Wilde. Pictured by Aubrey Beardsley. London: Elkin Mathews & 
John Lane. Boston: Copeland & Day, 1894.] 


The following eleven drawings, Numbers 46a to 46k, will first be offered as 
one lot; but if the upset price be not reached, each drawing will be sold sep- 
arately without reserve. 


46 ELEVEN DRAWINGS TO ILLUSTRATE OSCAR WILDE'S 


“SALOME” 


(a) Trrie-pace Desicn. 


Statue of horned hermaphrodite god with winged male figure kneeling 
at foot. At either side of the statue tall sacramental candles burning. 
A giant moth at lower right. Rosette decoration on a vine stem. 


. Pencilled title in the shield at upper right. The date MDCCCLXXXXxII 


would suggest that the publication of the book was planned for that 
year. 

Pen and ink on paper. Signed beneath the statue’s pedestal with a 
version of the Japanese monogram. Size, 834 x 61% inches 
For publication the plate was censored, physical rectifications being 
made both in the statue and the kneeling figure at foot, 


(b) Borper Desicn, containing list of pictures. ) 

Composition similar to the preceding. In place of the statue a tall 
figure wholly draped in gown of linen or other light material, figured 
with simple linear design. The body has a sinuous twist as though 
in the act of turning, which throws into relief the somewhat feminine 
hips and sweeps the draperies in spiral motion. The chevelure is 
hidden behind a thick cluster of pendent roses, the profile visible 
behind the raised right shoulder. At left a tall sacramental candle 
burning. At right, two giant moths. In place of the kneeling figure, 
a winged satyr, likewise kneeling, masked, but of opposite sex. 

As in the preceding, the color design is of white against a fine division 
of black and white, which gives a greyish-blue sensation, against a 
biack ground. 

Pen and ink on paper. Signed at lower right of the shield with a 
version of the Japanese monogram. Size, 9% x '738 inches 


[DESCRIPTION CONTINUED ON NEXT PAGE] 


25 


S 6-8 
Loculsy 


-(c) THE Woman IN THE Moon. Frontispiece. 
{The Young Syrian 
How beautiful is the Princess Slice to-night! 
The Page of Herodias 
Look at the moon. How strange the moon seems! She is like «. woman 
rising from the tomb. She is like a dead woman. One might fancy she 
was looking for dead things. 
The Young Syrian eh | 
She has a strange look. She is like a little princess who wears a vile 
veil, and whose feet are of silver. She is like a princess who has little 
white doves for feet. One might fancy she was dancing. 
The Page of Herodias 
She is like a woman who is dead. She moves very slowly.” 

—Salome, pp. 1-2] 
Brilliant drawing in line and simple patterns of black on a pure white 

round. 

Ben and ink on paper. Signed at lower right with a version of the 
Japanese monogram. Small tear above the head of the Page. _ 


Size, 834 x 6% inches 


The Woman in ae Moon wears he opulent features of Oscar Wilde. 


(d) THe PEAcock SxirrT. 
{The Young Syrian — 
How beautiful is the Princess Salome to-night! 
The Page of Herodias 3 on | = a sae es 
You are always looking at her. You look at her too much. It is dangerous 
to look at people in such fashion. Something terrible may happen. 

ae —Salome, pp. 2-3} 
{Herod 
Salome, thou knowest my white peacocks, my beautiful white peacocks, 
that walk in the garden between the myrtles and the tall cypress-trees. 
Their beaks are gilded with gold and the grains that they eat are smeared 
with gold, and their feet are stained with purple.. When they cry out 
the rain comes, and the moon shows herself in the heavens when they 
_ spread their tail. Two by two they walk between the cypress-trees and 
the black myvrtles, and each has a slave to tend it. Sometimes they fly 
across the trees, and anon they crouch in the grass, and round the pools 
of the water. . . . I will give thee fifty of my peacocks. They will follow 
thee whithersoever thou goest, and in the midst of them thou wilt be 
like unto the moon in the midst of a great white cloud. 

—Salome, pp. 58-59} 

The train of the skirt is jewelled, as with silver, white on black. In 
the hair, a coronet of peacock feathers, as of fine filigree, with tongues 
of jet black at the heart. In a stippled nimbus, Herod’s peacock. 
Pen and ink on paper. Signed above the Syrian’s hand with an orna- 
mented version of the Japanese monogram. Size, 878 x 6% inches 


26 


(e) THe Brack Cape. 

{The Young Syrian 

How pale the Princess is! Never have I seen her so pale. She is like 
the shadow of a white rose in a mirror of silver. . . . The Princess has 
hidden her face behind her fan! Her little white hands are fluttering 
like doves that fly to their dove-cots. They are like white butterflies. 


—Salome, pp. 3, 7] 


Superb grotesque of black, barely relieved, on a white ground. The 
design suggests in its outline a serpent in the act of springing: the 
pointed chevelure, the serpent’s head; the train, its coiled tail. In 
the hair the comb in form of a miniature coronet and the ludicrous 
baby-straw hat of the late Victorian music hall, suggest that Beardsley 
did not take Wilde’s tragedy too seriously. 

Pen and ink on paper. Signed at lower right with the Japanese mono- 
gram in its simplest form. Size, 87% x 614 inches 


(f) THe Pratonic LAMENT. 

{The Page of Herodias 

He was my brother, and nearer to me than a brother. I gave him a little 
box full of perfume and a ring of agate that he wove always on his hand. 
In the evening we were wont to walk by the river, and among the almond 
trees, and he used to tell me of the things of his country. He spake ever 
very low. The sound of his voice was like the sound of the flute, of one 
who playeth upon the flute. Also he had much joy to gaze at himself 


in the river. I used to reproach him for that... . Ah, why did I not 
hide him from the moon? If I had hidden him in a cabin she would not 
have seen him. —Salome, pp. 25-27] 


One of the few drawings Beardsley ever made in which there is no 
hint of violence, but only tenderness expressed. Not even the fool 
at the foot of the bier, nor the Wildean moon looking down, distracts 
from the simplicity of the central tragedy. The face of the dead 
Syrian is most calm. | 

Pen and ink on paper. Signed at lower right with Japanese monogram. 
Small hole at upper right. Size, 87% x 6% inches 


2d 


(g) THe Eyes or Heron. 

{Salome 

I will not stay. I cannot stay. Why does the Tetrarch look at me all 
the while with his mole’s eyes under his shaking eyelids? It is strange 
that the husband of mother looks at me like that. I know not what it 
means. Of a truth I know it too well. —Salome, p. to} 


Salome still wears the peacock feathers in her hair. A peacock is at 
her feet, and the five branches of candelabra which the pages carry 
are fashioned out of peacock shapes. The decoration is of jewelled 
black on white on a black ground. 

_ Pen and ink on paper. Signed at extreme left with the Japanese mono- 
gram. Size, 834 x 638 inches 


(h) THE StomacH Dance. 

{Herod 

Ah, thou art to dance with naked feet! °Tis well! Thy naked feet will 
be like white doves. They will be like little white flowers that dance 
upon the trees .. . No, no, she is going to dance on blood! There is blood 
spilt on the ground. She must not dance on blood. It were an evil omen. 
Herodias 

What ‘is it to thee if she dance on blood? Thou hast waded deep enough 
inN-1L”. 

Salome 

I am ready, Tetrarch. 


—Salome, pp. 53°54] 


One of the most beautiful renderings of the human body that Beardsley 
ever achieved, as it is also one of the most daring. Salome’s body, 
swaying rythmically, is caught at the furthest point of its forward 
motion and held in perfect equilibrium. With the intuition of genius, 
Beardsley has transferred all the lecherous undercurrent of the dance 
to the grotesque musician. 

Pen and ink on paper. Signed at right with a version of the Japanese 
monogram, white on black. Size, 8 x 638 inches 


28 


ee EE Oe ee = 


THE STOMACH DANCE 


{ NUMBER 46h | 


(1) THe DANCcER’s REwarD. 

{A huge black arm, the arm of the Executioner, comes forth from the 
cistern bearing on a silver shield the head of Iokanaan. Salome seizes it. 
Herod hides his face with his cloak. Herodias smiles and fans herself. 
The Nazarenes fall on their knees and begin to pray. 

Salome 

Ah! thou wouldst not suffer me to kiss thy mouth Iokanaan. Well! 
I will Riss it now. I will bite it with my teeth as one bites a ripe fruit. 
Yes, I will Riss thy mouth Oe I said it; did I not say it? I said 
it. Ah! I will Riss it now .. . But wherefore dost thou not look at me, 
Iokanaan?.. . —Salome, p. 64] 


The most sombre of the Salome set. Shorn of their jewelled decora- 
tion, Beardsley’s blacks appear gaunt and bare. Only the finely 
chiselled head of Iokanaan sparkles. 

Pen and ink on paper. Signed at lower left with a decorated version 
of the Japanese monogram. Size, 834 x 61% inches 


(j) THE CLIMAX. | 

{The Voice of Salome 

Ah! I have kissed thy mouth, lorena I have kissed thy mouth. There 
was a bitter taste on thy lips. Was it the taste of blood? . Nay; 
but perchance it was the taste of blood . . . They say that love hath a 
bitter taste... But what matter? what matter? I have kissed thy mouth, 
Iokanaan, I have kissed thy mouth. (A ray of moonlight falls on Salome 
and illumines her.) —Salome, pp. 66-67} 
An earlier version of the same subject, following the same design, but 
more elaborate, was published in The Studio, April 1893, illustrating 
Joseph Pennell’s article. It was on the strength of this drawing that 
John Lane gave Beardsley the commission for the series. 

Pen and ink on paper. Signed at lower right with version of the 
Japanese monogram, white on black. Size, 834 x 638 inches 


(R) Tatt-prece. ‘THE BuriAL OF SALOME. 

{Herod 

(Turning round and seeing Salome.) Kill that woman! 

(The soldiers rush forward and crush beneath their shields Salome, 
daughter of Herodias, Princess of Judza.) —Salome, p. 67} 
Fittingly, the daughter of Herodias is laid to rest by a clown and a 
satyr, in her own vanity box. 

Pen and ink on paper. Signed large at upper centre with a version of 
the Japanese monogram. Size, 514 x 6 inches (no border) 
Two drawings of the 1894 edition, “Enter Herodias”, which faced 
page 24, and “The Toilet of Salome”, which faced page 48, are missing. 
The former was presented to the National Gallery by the late John 
Lane during his lifetime, the latter was lost some years ago. 


SEE ILLUSTRATIONS, PAGES 29 AND 31] 
30 


EVOZED 


SPS 


Wy oes): , Pe : 
pap aereg ey. 


CES 
nS LE 


THE DANCERS REWARD 


{ NUMBER 463 | 


SALOME 
SUPPRESSED PLATES 


NUMBERS 4'7°48 


47 JOHN AND SALOME 


48 


Salome; 
I am amorous of thy body, Iokanaan! Thy body is white, like the lilies 
of a field that the mower hath never mowed . . . Thy hair is like clusters 


of grapes, like the clusters of black grapes that hang from the vine-trees 
of Edom in the land of the Edomites ... Thy mouth is like a band of 


scarlet on a tower of ivory... I will kiss thy mouth, Iokanaan. I will 
kiss thy mouth. | — Salome, pp. 21-24} 
Pen and ink on paper. Signed at lower right with a version of the 
Japanese monogram. Size, 834 x 6% inches 


This drawing, superb in its pattern, in its sharply contrasted areas 
of jet black and brilliant white, in the jewelled decoration of the hair, 
shoulders and breasts of Salome, was suppressed shortly before pub- 
lication. A few copies were printed for private circulation. Pub- 


lished in The Early Work, Plate 153. 


SEE ILLUSTRATION} 


THE TOILETTE OF SALOME. First Versicn : 


{Herod 
Wherefore dost thou tarry, Salome? ants Bernty 
Salome 


I am waiting until my slaves bring perfumes to me and the seven veils, 
and take from off my feet my sandals. (Slaves bring perfumes and the 
seven veils, and take off the sandals of Salome.) —Salome, p. 52} 
Suppressed after reproduction, but before publication, in favor of a 
simplified version, at once more modern and more proper, thus robbing 
the public of 1894 of a most witty and exquisite drawing. The 
masked barber in Pierrot costume, the same who was afterwards to 
have the honor of burying Salome in her own vanity box, and the 
slave who plays upon a bass viol, could scarcely have been more 
delicately or more charmingly imagined. The Princess’s library 
changed between the two versions. In the first she is reading Zola’s 
La Terre, Ibsen, and Les Fleurs du Mal. In the second, Zola’s Nana, 
Les Fétes Galantes, Le Marquis de Sade, Manon Lescaut, and The 
Golden Ass. 
Pen and ink on paper. Signed at the right with the Japanese monogram. 
Size, 87% x 638 inches 
Before publication in The Early Work (Plate 152) the plate was cen- 
sored, a small portion being tooled out. 


32 


WE ow 

\ , 

KC SSS 
Se 


», 


tO 


aN 
Ka 
NY 


JOHN AND SALOME 
SUPPRESSED DESIGN 


{ NUMBER 47 } 


(50 


POSTER: BOOK DECORATIONS 
18941897 
NUMBERS 49°51 


49 POSTER. Circa 1894. 

Woman, in walking costume, holding a leash in her left hand. From 
a balcony at left a girl, in deep décolleté, leaning, as though to speak. 
Above the shield, at left, are evidences of a third figure, painted out 
with Chinese white. 

Pen and ink on paper. Size, 1414 x 9% inches 
Used by the late William Heinemann, Esq., and purchased by John 
Lane at his sale. 


50 EARL LAVENDER. BY JOHN DAVIDSON G@ g tty Ty iuh 


London: Ward and Downey. 1895. Frontispiece. 
A flagellation. Youth, nude to the waist, kneeling. Woman, in low- 
cut dress flared at hem, wielding scourge. Portion of fireplace behind, 
with three-branched candlestock on the mantel shelf. 
Exquisite pen drawing in outline. The figure of the flagellant, her 
body balanced in forward motion, her neck and shoulders bare below 
the breasts, is one of Beardsley’s most classic creations. 
Pen and ink on paper. Signed ““Aubrey Beardsley.” 

Size, 10 x 6 inches 


a4 


5 0. 


eee ys BY JOHN DAVIDSON 


PLAYS. BY JOHN DAVIDSON 
VIGNETTE FOR TITLE-PAGE 


{ NUMBER 51 | 


London: Elkin Mathews and John Lane. 1894. Vignette for title- 
age. 

bscked Pierrot in black with white collar and sash and peacock 
feather in hat. The most exquisite of Beardsley’s miniatures. 

Pen and ink on paper. Height, 358 inches 
The famous frontispiece with the portraits of Oscar Wilde and Augus- 
tus Harris is now in the Tate Gallery, having been chosen by the 
Director in accordance with the terms of John Lane’s will. 


SEE ILLUSTRATION} 
35 


VENUS AND TANNHAUSER 
1895 


[The Story of Venus and Tannhauser, in which is set forth an exact 
account of the Manner of State held by Madam Venus, Goddess and 
Meretrix, under the famous Horselberg, and containing the adventures 
of Tannhiuser in that place, his repentance, his journeying to Rome, 
and return to the loving mountain. By Aubrey Beardsley. With twenty 
full-page illustrations, numerous ornaments, and a cover from the same 
hand. (In preparation) 

—Extract from list of books in Belles Lettres Published 

by John Lane, The Bodley Head . . . 1894] 


52 VENUS AND TANNHAUSER — QC, oatt + Fpl 


Frontispiece and title-page design. 
Halflength portrait of Venus in an architectural frame. Behind, a 
formal Italian garden, visible through cloistered arches. 

Pen and ink on paper. Signed at upper centre with the initials “A. B.”, 
1895, in a double circle. Size, 1158 x 6% inches 
For use as title-page, the frame was to be reversed and the portrait, 
etc., cancelled, as in Plate 44 of The Later Work. The covers of the 
Early, Later, and Uncollected Work were decorated with a mutilated 
version of this design, cut at head and foot to fit the page and filled 
out at the right to perfect symmetry by the engraver. The signature 
was transferred to the centre of the frieze. 

The drawing, Venus, used as title-page decoration for the suppressed 
Vol. 5 of The Yellow Book (No. 12 of this catalogue), was probably 
intended as a decoration for this work. 

The manuscript of Venus and Tannhauser was left incomplete at 
Beardsley’s death. A portion only was printed in Under the Hill, 
the posthumous collection of Beardsley’s literary work, published 
by John Lane in 1904, the whole being deemed unprintable by the 
editors. A complete transcript of the manuscript, however, was 
printed in London in 1907, 300 numbered copies for private circula- 
tion without the drawings. The manuscript is in the possession of 
Dr. A. S. W. Rosenbach. | 


56 


PIERROT’S LIBRARY 
1896 


NUMBERS 53-55 


{Pierrot’s Library 

Each Volume with Title-page, Cover Design, and End Papers, designed 

by Aubrey Beardsley. Sq. 16mo, 2s. net. 

The following are in preparation. 

Vol. I. Pierrot. By H. de Vere Stacpoole. 

Vol. II. My Little Lady Anne. By Mrs. Egerton Castle. 

Vol. I. Death, the Knight, and the Lady. By H. de Vere Stacpoole. 

Vol WY Simplicity. By A..T: G. Price... - | 
—Fxtract from The Publications of John Lane, 1896} 


SerieRROT S LIBRARY 
Cover design and title-page. Two drawings. 
(a) Cover Dzsicn. 
Pierrot on a stepladder, reaching down a large book, in two volumes, 
from the top shelf of his library. 
Drawing in bold outline. | 
Pen and ink on paper. Size, 614 x 458 inches 
(b) TrrLe-pacE Desicn. 
Pierrot in horn-rimmed goggles, reading. At his elbow a small re- 
volving bookshelf. Through the window the upper storeys of the 
house opposite, visible. 
Drawing in bold outline, the decorative detail finely shaded. Shield 
at lower left. 
Pen and ink on paper. Size, 6 x 41% inches 


(2) 


> 
* 


. 
. 
Paneeiea 


fae 
» [Ge 
ds. We 


ee) 


u 


Res 
” ) Las! SS 
FN Mt gs 
we 


ONE OF THE TWO DRAWINGS FOR 
THE END PAPERS FOR PIERROT’ LIBRARY 


{ NUMBER 54b | 


54 PIERROT’S LIBRARY Sot Lyeulsd 


End papers. Two drawings. 

(a) Prerrot half reclining on the grass on a cliff above the sea, listening 
to music. 

Drawing in bold outline, white on black, on white ground. 

Pen and ink on paper. Signed at lower right, below the design, 
‘Aubrey Beardsley”’. Size, 6% x 9% inches 


(b) Prerrot and his friend walk home. Pierrot looks across the fields, 
curious. Friend thinks. Milestone says “To H-a-ron”. 

Drawing in bold outline, white on black, on white ground. 

Pen and ink on paper. Signed at lower right, below the design, 
‘Aubrey Beardsley”. Size, 6% x 9% inches 
(2) 


SEE ILLUSTRATION] 
38 


55 PIERROT’S LIBRARY 
Ornament for reverse cover. 
Pierrot’s head, bound in kerchief and tied with ribbon. 
Drawing in bold outline. Light scratch or fold across centre. 
Pen and ink on paper. Height, 23 inches 


56 SAPPHO 
Memoir, Text, Selected Renderings, and a Literal Translation. By 
Henry Thornton Wharton. London: John Lane, MDCCCXCV. 
Cover design. 
Brilliant formalized design in three compartments, with double-rule 
frame. In the central compartment a lyre, black on white. 
Pen and ink on paper. Size, 658 x 37% inches 
This design was printed in gold on the cover and stamped blind on 
the reverse cover. 


57 ARBUSCULA 

Illustration to Vuillier’s History of Dancing, Edition de Luxe. London: 
William Heinemann, 1897. 
Dancer in low-cut gown, embroidered in rose panels, half reclining on 
a couch, in an eighteenth century interior. Delicate study in Beards- 
ley’s final and most subtle manner. 
Pen and ink and wash on paper. Signed at lower right. Addressed 
on back of mount to William Heinemann, 21 Bedford Street, Strand, 
London, W.C., in Beardsley’s hand. Size, 514 x 37% inches 
Purchased by John Lane at the sale of the late William Heinemann, 
Esq. 

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